Edward Enninful discusses Modern Britain: 'We Are Less Tolerant Now' Than We Were Decades Ago.

An unexpected discovery on the London Underground in 1988 transformed the path of a young Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was rapidly ushered into the capital's vibrant 1990s artistic milieu, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the publication i-D.

"It was the peak of the YBA movement – Tracey Emin, Jay Jopling. I encountered Kate Moss at a casting," he recalls. "Then I met Naomi for a cover, and I knew we’d be close. We all hung out across disciplines. Friday became Saturday into Sunday. I yearn for that rawness."

While Enninful may seem sentimental, he is in good company. Lately, a fond idealisation of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s worldwide."

A Cultural Backslide

This change is difficult to overlook: the rise of far-right politics, the pushback against so-called "wokeness", and the reinforcement of narrow beauty standards. Replacing the hope of the late 90s, today a different political personality stands as a possible leader. Furthermore, the British flag, once an symbol of Cool Britannia, has sparked debate once more.

For Enninful, the solution has always been to celebrate culture in all its diversity. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, featuring a wide range of influential figures from art.

"Those in a position of influence should use it," he comments, discussing those publishing choices. "Everyone talks about immigration; I wouldn't be here if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this phase will end."

Hope in the Next Generation

He draws solace in the youth of today: "They are far more conscious than we were. They discuss unconscious bias – I had no concept what that was."

The beginnings of his career would shape a trailblazing career built on boldness and inclusivity. Enninful broke barriers as the first male, first black man, first gay man, and first disabled Black gay man to lead at British Vogue. His time featured diverse covers showcasing Black models, plus-sized women, an octogenarian, and individuals from varied communities. Significantly, sales increased.

"To overlook huge sections of the population, it’s more than that you’re not being inclusive – it’s bad for business," he explains.

A New Chapter as a 'Disruptor'

He has since founded his agency EE72 and its flagship publication, 72, his premier initiative since moving on from his former post. He says he wants to continue being a "innovator".

"My nature is to challenge the status quo. I was born and raised in a place where the majority was Black – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I was a minority. I was very shy. My teachers said I’d have no future. Me and my brothers were harassed under the Sus laws … this duality gave me a unique perspective both an insider and outsider."

Contrary to the popular image of industry figures as brash and temperamental, Enninful is measured in tone and radiates serenity. His path has included its share of challenges, including well-documented struggles with depression and addiction.

He has also undergone significant health challenges, having had multiple operations on his eyes, now leaving him with limited vision. "I endured such a time of fear for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just live in fear 24/7. I vowed, if this ever is over, I’m just going to pursue all that I was so scared to do. I’m not going to restrict myself to just being an editor or a fashion person."

Curating a Cultural Era

This drive to be typecast has propelled him beyond the world that built his career. He is now curating a significant 1990s exhibition at Tate Britain, featuring work by a host of pivotal artists and photographers from the era. The show, he explains, aims to capture the decade's artistic collaboration – and give platform to those who lacked adequate attention at the time.

"Galleries didn't always celebrate the truly innovative creators because they did not have the right pedigree," he observes.

The magazine 72 itself uses a novel strategy, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a series? The magazine is part of a greater ecosystem."

A Testament to Resilience

Now, Enninful is regarded as one of the world's most powerful creative power brokers. His story, he states, is a demonstration to the power of following your instincts.

How would the Edward of the 90s think of the Edward of today? He chuckles. "It would be a surprise, but he’d be impressed. In those days I was a rebel. I didn't think institutions like Tate were within my reach."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have counted me out my whole career. But nothing can stop me once I’ve decided to do something."